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Event
The Sound of Haydn, Mozart, Beethoven, & Schubert
THE KENNEBEC EARLY MUSIC FESTIVAL
Dynamic Music on Historic Instruments
George Bozarth, Artistic Director
At the Kennebec Early Music Festival (August 15 to 20) enjoy musicians of national and international renown from San Francisco, Seattle, Boston, Portland, and Bath performing the music of the Renaissance masters, as well as Bach, Haydn, Mozart, Beethoven, and Schubert on historic instruments: Renaissance lute, Baroque violin and violoncello, Flemish harpsichord, and two different Viennese fortepianos.
THE PRE-CONCERT "DISCUSSION": Pianos and Fortepianos (George Bozarth & Tamara Friedman, begins at (6:45 pm)
THE CONCERT (7:30 pm)
Elisabeth Marshall, soprano
Elizabeth Blumenstock, violin (Andrea Guarneri, Cremona, 1660)
Sarah Freiberg, violoncello (John Joseph Merlin, London, 1784)
Tamara Friedman, fortepiano (after Anton Walter, Vienna, 1795)
Beethoven, Variations on Handels See the Conqu'ring Hero Comes, WoO 45
Schubert, Five German Lieder:
An die Musik - Die junge Nonne - Frühlingsglaube - Auf dem Wasser zu singen - Ständchen
Mozart, Violin Sonata in G major/minor, K. 379
Haydn, Gypsy Piano Trio in G major, Hob. XV:25
Haydn, Three Scottish Folksongs for Voice, Violin, Violoncello, and Fortepiano:
How Pleasant the Banks John Anderson, my Jo The Moon Climbd the Highest Hill
Pre-concert Event: Tamara Friedman & George Bozarth, Fortepiano vs Modern Piano (6:15 pm)
The Kennebec Early Music Festival is supported by grants from the Edgard and Geraldine Feder Foundation, the Davenport Family Trust, and the Maine Arts Commission, with major sponsorships from Bath Savings Trust Company and William Raveis/Carleton Real Estate.
THE INSTRUMENTS
Elizabeth Blumenstock's violin was made by Andreas Guarneri (Cremona, 1660), the founder of the dynasty of renowned Guarneri violin-makers in the 17th and 18th centuries.
Sarah Freiberg's violoncello was crafted by Joseph John Merlin (London, 1784), an ingenious mechanic whose inventions included various types of intricate clocks and automata, inline skates, a perpetual motion machine, and mathematical and keyboard instruments which he displayed in Merlin's Mechanical Museum in London.
The fortepiano on which Tamara Friedman is performing was modeled after a 1795 instrument by Anton Walter (Vienna) and build by Rodney Regier of Freeport similar to the fortepiano Mozart acquired when he took up residence in Vienna in the early 1780s and began writing his mature piano concertos.
The Kennebec Early Music Festival is supported by grants from the Maine Arts Commission, the Edgard and Geraldine Feder Foundation snd the Davenport Family Trust, and, with major sponsorships from Bath Savings Trust Company and William Raveis/Carleton Real Estate.
THE MUSICIANS
Soprano Elisabeth Marshall has been hailed by Opera News for her recording of James Kallembachs Four Romantic Songs on Brooklyn Art Song Societys 2015 album New Voices. She was a 2016 finalist in The American Prize Schorr Memorial Award in Art Song & Oratorio and recipient of their Special Citation for Outstanding Performance in Music before 1800. Her frequent solo engagements include Handels Messiah, Bachs B minor Mass and numerous cantatas, Mozarts Mass in C minor and Requiem, and Beethovens Ninth Symphony and Choral Fantasia with ensembles such as the Cincinnati, Indianapolis, Portland (ME) and Bangor Symphony Orchestras, and in Rochester Cathedral (England). Elisabeths roles include Frasquita (Carmen), Queen of the Night (The Magic Flute), Rosalinde (Die Fledermaus), Elisetta (Il matrimonio segreto), and Susanna (The Marriage of Figaro). An avid chorister as well, she has sung with the Handel & Haydn Society, Lorelei Ensemble, Oregon Bach Festival, Wexford Festival Opera, London Philharmonia Chorus, Carmel Bach Festival, and Festivalensemble Stuttgart, singing with such conductors as Helmuth Rilling, Masaaki Suzuki, and Leonard Slatkin. You may learn more about Elisabeth at her website, www.elisabethmarshall.com.
Widely admired as a Baroque violinist of expressive eloquence and technical sparkle, Elizabeth Blumenstock is a long-time concertmaster, soloist, and leader with the San Francisco Bay Areas Philharmonia Baroque Orchestra and American Bach Soloists, and concertmaster of the International Handel Festival in Göttingen, Germany. In Southern California, she is Music Director of the Corona del Mar Baroque Music Festival. Her love of chamber music has involved her in several accomplished and interesting smaller ensembles, including Musica Pacifica, Galax Quartet, Ensemble Mirable, Live Oak Baroque, the Arcadian Academy, and Trio Galanterie. An enthusiastic teacher, Elizabeth is on the faculties of the San Francisco Conservatory of Music, the American Bach Soloists summer Festival and Academy, and the International Baroque Institute at the Longy School of Music.
Sarah Freiberg is principal cellist of Boston Baroque and a tenured member of the Handel and Haydn Society. She has performed with the New York Collegium, Philharmonia Baroque Orchestra (San Francisco), Portland Baroque (Oregon), Seattle Baroque, the Boston Early Music Festival, and Arion (Montreal). As a corresponding editor for Strings magazine, she has contributed dozens of articles and reviews on a wide range of subjects. Sarah edited the long-forgotten Guerini cello sonatas for both PRB Productions and Broude Brothers, and recorded both Guerini and Laurenti cello sonatas for Centaur. As well as teaching in the Historical Performance department at Boston University, she is Chair of Strings and Chamber Music at the Powers Music School in Belmont and teaches at the Amherst Early Music Festival. Sarah can be heard on numerous recordings, including as soloist on the Boston Baroque CD of works by Vivaldi and Geminiani.
Pianist Tamara Friedman, praised for the depth, wit, and humor of her performances (Seattle Times), attended the Oberlin Conservatory and received her masters degree from the Mannes College of Music (NYC). She has collaborated with such artists as Stanley Ritchie, Jaap Schröder, and Max van Egmond, and appears with violinist Elizabeth Blumenstock as Duo Amadeus. In the Pacific Northwest she has performed on the Seattle Camerata, Allegro Baroque and Beyond, Belle Arte, Early Music Guild, Gallery Concerts, and Mostly Nordic series and for the Governors Chamber Music Festival. She has been the featured performer in early piano workshops for Pacific Lutheran University (Tacoma, WA) and the Western Early Keyboard Association, and maintains a private studio in Seattle, where she teaches modern piano and fortepiano on her collection of eighteenth- and nineteenth-century keyboard instruments, which is on display at SEKM!the Seattle Early Keyboard Museum. Her summers are spent in Bath, Maine, where she also has a group of historic pianos.
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LocationLinden Tree Meeting House of the Phippsburg Congregationalist Church (View)
10 Church Lane (off of Parker's Head Road)
Phippsburg, ME 04562
United States
Categories
| Minimum Age: 7 |
| Kid Friendly: Yes! |
| Dog Friendly: No |
| Non-Smoking: Yes! |
| Wheelchair Accessible: Yes! |
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